Alberta Native News - Digital Edition - March 2018

Volume 35 Number 03 March, 2018

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Cover art: Two Kokums in Party Hats Š by Nathalie Bertin; acrylic on canvas On exhibit at Bearclaw Gallery, Edmonton, bearclawgallery.com

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Alberta Native News

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Exhibit highlights resilience of Indigenous women Nathalie Bertin is an acclaimed multi-disciplinary artist whose new works will be featured at Bearclaw Gallery in Edmonton from March 31 – April 12, 2018. The theme of the new exhibit is Rise, Love, Heal, Celebrate and it highlights the resilience and empowering of Indigenous Women. Her stunning painting “Two Kokums” from the new collection, appears on the cover of this month’s Alberta Native News.

The meaning in Bertin’s art comes from her personal interactions between her culture and her surroundings and the upcoming exhibit truly reflects the realities that she has experienced about Indigenous people throughout her life – especially women.

“Social media has allowed us all a window into the troubles and the absolute joys of what it means to be indigenous in Canada today,” remarked Nathalie.

“Although Indigenous women continue to be targets of violence, we rise to face oppression. We hang on to traditions as we take our rightful space in modern society.

We work hard, we are passionate, we love, we heal and we celebrate.

“My aim is to present a different view of Indigenous women – one that is positive, powerful, knowledgeable, gentle and kind – because these are the women I know.

The artwork in this latest series are inspired by the moments in time that shine a light on our humanity.”

Born in Toronto in 1969, Nathalie Bertin currently divides her time between her home studio in Newmarket, Ontario and her home-away-from-home in central

Ontario’s District of Muskoka, a scenic and quiet community near Georgian Bay. Bertin, a multi-disciplinary artist whose style is often described as luminescent, energetic, bold and colourful, began to publicly display her art in 2009. She is also fond of Before the River © by Nathalie Bertin strong shapes and textures.

"I am more concerned traditional storytelling and folk tales. Some of these have about expressing feelings about my subject matter than been reproduced by the Royal Canadian Mint on collector recreating a technically realistic representation," explained coins for release in 2013, 2014 and 2015. In June 2010, Bertin.

Bertin was selected as an artist ambassador for the G20 The artist often incorporates elements of her French and Summit in Toronto, a volunteer position that garnered Algonquin heritage in concepts that blend her two global media attention for Canadian artists from Muskoka. cultures. The land is also a common subject since it Her art has also addressed social issues and in 2017 she supports her physically and spiritually. “I am inspired by was featured in “Call to Action #83: A Reconciliation the art of my divergent cultures. My goal is to explore how Project” which toured across Ontario. my cultural connections and lifestyle interact with the The Bearclaw Gallery, located at 10403 124 Street in natural environment that I live in and vice versa.”

Edmonton is well-known and highly regarded as a fine Bertin has had numerous exhibits across Canada and her Canadian First Nations art dealer and gallery. Over the last work can be found in collections of the Government of three decades, the Bearclaw Gallery has established solid Manitoba, Government of Alberta, corporate relationships with First Nations artists from across Canada organizations and private collectors across Canada, the and has proudly promoted Canadian First Nations and US, Europe and Africa.

Inuit art and artists to buyers both at home and A few of Bertin’s recent projects were inspired from internationally.

Climate Conference hears wise words from Indigenous panelists

By Terry Lusty Winters are warming faster and the land, its birds, animals and plants are all impacted by shifts in temperatures and climate change. Needless to say, humans are, likewise, impacted by environmental impacts.

An important Cities and Climate Change Conference was held recently in Edmonton to address this issue.

Professional scientists and Indigenous people of the land - who possess traditional knowledge - continue making powerful in-roads by offering insights and impressions about the impacts of climate change, with particular attention to the effects in urban centres.

Over 800 academics, scientists, city leaders and Indigenous professionals converged on the city of Edmonton's Shaw Conference Centre March 5 - 7 where, more than 20 presentations, films and performances were scheduled. Sponsored by the city and co-sponsored by Cities IPCC (Intergovernmental Panel on Climate Change), this "inaugural" event was the outcome of COP22 (United Nations Conference on Climate Change) in 2016 that was attended by Edmonton Mayor Don Iveson, who initiated the idea for the conference in Edmonton.

The object of the gathering was to share scientific research and knowledge and to inspire global and regional action in urban centres that address the issue.

To its credit, organizers included a three-member Indigenous panel on March 6. It was comprised of Vickie Wetchie, a Montana Cree band member and economic development director, Walter Andreeff, a Metis scientist from Grande Prairie and Cliff Supernault, an Edmontonbased Metis, traditional knowledge keeper and Elder.

Rise Love Heal Celebrate New works by Nathalie Bertin: March 31 - April 12

Bearclaw Gallery 10403 - 124 Street Edmonton, Alberta Canada T5N 3Z5

bearclaw gallery FIRST NATIONS ART GALLERY

Tel. 780-482-1204 info@bearclawgallery.com www.bearclawgallery.com

Wetchie began by stating that "Mother Earth talks to us, tells us she is hurting." There are seasonal changes that include the earlier arrivals of various plants, birds and animals and a distinct global warming that is occurring for some time now.

She further said that academics and scientists are Continued on page 14

March, 2018

Alberta Native News

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Metis Elder harassed at City Centre Mall

By Deborah Shatz A respected Métis elder who has devoted much time and effort to promoting reconciliation and Indigenous awareness in Edmonton was harrassed and treated with disrespect by security guards at City Centre Mall in downtown Edmonton for trying to do a good deed.

Terry Lusty a wellknown Metis Terry Lusty photojournalist and frequent contributor in Alberta Native News newspaper said he was at the mall’s third-level food court on March 7 getting a bite to eat when he spotted an RBC credit card on the floor.

Terry, who is generally very soft-spoken, picked up the card and loudly called out the name on the card to see if the owner was still there so he could return the card.

Getting no response, he moved into the next section of the food court and called out the owner’s name again.

Terry, a gentle and kind-hearted man, was trying to help a stranger by returning the card. When no-one answered his calls, he dialed the 1-800 number on his way back to his seat where his food was waiting.

It was at that point that a plainclothes security guard wearing a name tag approached him and asked Terry to turn the card over to him. Terry did not think the guy looked official and explained that he was already on hold with the bank and that he would look after it. Again, the man asked Terry to hand over the card but Terry said he was doing his “due diligence” in reporting the card lost.

The man then summoned two security guards using his phone and when they arrived they asked Terry to leave the food court.

Terry responded that he had just purchased a meal and wanted to finish it there “in peace.” They stood over Terry while he ate and Terry – though he was uncomfortable – told them they could sit down while he finished his meal.

After reporting the lost card to the bank, the bank official told Terry that the card should be destroyed. That’s when he handed it to the security guard with instructions to destroy it.

The security guard asked Terry to repeat himself, which Terry did and then he summoned up his courage and asked the guard “Are you deaf?”

That’s when Terry was told to immediately leave the premises and not to return until the following day. He

refused to leave until he had finished his meal and then he snapped a photo of two of the guards.

At that point, the security guards said he was banned from the mall for one month.

The whole experience has left Terry feeling anxious, disheartened and a little angry. When asked a few days later if he felt he had been bullied, he replied, “I was racially profiled.”

“I mean, this has happened before,” Lusty said, referring to an incident in 2014 when Indigenous outreach worker Gary Moostoos was banned from that same food court for six months for no reason. “This was just racist and discriminatory and it was sheer stupidity.”

As in the case of Gary Moostoos, the mall viewed security footage of the incident and has revoked the suspension.

But the episode has left its mark on Lusty.

“Obviously, security at City Centre Mall has not learned from their prior experience with Elder Gary Moostoos a few years ago. I want people from our communities to stand up for themselves in a similar situation, to assert themselves when they know they are in the right,” said Terry. "We deserve respect."This kind of mistreatment has to stop, he added. “And what does it say for reconciliation?

Society is supposedly on the reconciliation wagon – it didn’t feel like it,” he remarked.

The City Centre Mall is a venue for National Indigenous Peoples Day festivities but this experience felt like straight up racism to Terry.

“I viewed it as more than what was portrayed in the daily papers because I felt it was racially motivated,” explained Terry. “It felt like racial profiling to me and that’s why I’m thinking about taking it to the Canadian Human Rights Commission.”

Terry has been feeling anxious since the experience and is not sleeping well. “I’m having nightmares about being targeted,” he said. “The anxiety I experienced has stayed with me all week. I was on an assignment and couldn’t concentrate on my work. I couldn’t take my mind off it. It was very upsetting and I am not a young man.”

Terry said the mall manager has reached out and he is supposed to be receiving both written and personal apologies by the end of the week. He’s not sure what that will feel like.

He said that he has received a lot of support and kind words from his community. “The word on the street is that many people have had bad experiences in that mall.”

He hopes that his experience will be a tap on the shoulder and a reminder that Indigenous awareness and reconciliation are more than just empty words.

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Alberta Native News is proud to be based in Alberta. We print and distribute throughout the province and surrounding area reaching more Indigenous communities in Alberta than any other newspaper.

March, 2018

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Treaty 8 opens Urban Child and Family Services office in Edmonton February 20, 2018 marked an important development for First Nations children caught up in the Alberta Child Welfare system. The opening of The Nations of Treaty 8 Urban Child and Family Services Office (T8 Urban CFS) is a significant first step towards re-uniting children with their culture, heritage and communities.

In 2015, a Report to Canada’s Premiers noted that in Alberta, 9% of the child population is Aboriginal, and 69% of children in care are Aboriginal. This overrepresentation of Aboriginal children has been an issue that the Chiefs of Treaty 8 [Alberta] have long been vocal about trying to find solutions.

The T8 Urban CFS is a multi-phased and multi-year pilot program made possible by funding from the federal Department of Indigenous Services. It will begin by providing training and support to existing Designated First Nations Agencies (DFNA), before moving towards reuniting children with their culture and communities. In partnership with the Alberta Ministry of Children’s Services, the Treaty 8 Urban Child and Family Services office will assume management of Treaty 8 children’s case files from Alberta Children’s Services. The final phase is to develop First Nations own jurisdiction and legislation to ensure that Treaty 8 people and communities are responsible for caring for Treaty 8 children.

“This is an historic event for Treaty 8 and it is important that we acknowledge that it was the Elders who have long advocated for this to happen. Since Indian Residential Schools, Elders, many of whom did not live to see this day come to pass, have asked us to bring our children home,” stated Erica Jagodzinsky, Chairman of Treaty 8 Urban CFS. Erica also added, “I acknowledge and thank the Treaty 8 DFNA directors who have worked so diligently to honour the wishes of our Elders. They have recognized that as Indigenous Peoples we need to make sure that all of our children are looked after, regardless of where they live. It is our duty to make sure they are in touch with their culture, traditions and communities. This new office will make sure of that.”

While the T8 Urban CFS office is finally becoming a reality, it has been challenging to get it off the ground. “I also recognize and acknowledge that this would not have

been possible without the help of the Department of Indigenous Services and the Ministry of Children’s Services, specifically Minister Bennett and Minister Larivee, both of whom understood and supported this work,” remarked Chief Rupert Meneen, Grand Chief of Treaty 8 First Nations of Alberta before continuing. “We are now looking forward to continue working with Minister Larivee on this necessary step forward for selfdetermination of our children’s futures.”

When it comes to the over-representation of First Nations children in care, “our office plans to tackle the problem head on. By working with the DFNA directors, many of whom have already been working hard on this issue for years, we are equipped to provide support, training and offer programs to assist workers, parents and staff to address the real-world problems they face,” noted Darin Keewatin, Executive Director of the Nations of Treaty 8 Urban Child & Family Services Office.

But the long-term plan of the office goes further than that, with the goal of assuming case management stewardship and responsibility for Treaty 8 [Alberta] children in care from the Province. Darin continues. “We need to make sure First Nations people and leadership have a much more active role in the lives of our children in care, re-unifying them with their community, culture, and heritage. The Elders have taught us that we have a collective responsibility, as First Nations, to take care of our children no matter where they are.”

Looking ahead, the Chiefs of Treaty 8 recognize the only way to make a difference is by continuing to pursue this new vision they have for the future.

“The Chiefs of Treaty 8 continue to support the hard work our agencies and DFNA directors do in order to address the needs of our families and children. We recognized that we need to lead the way in helping the high number of our children in care and the best way to do this is to establish our own jurisdiction and legislation, made by and for Treaty 8 citizens. This Treaty 8 Urban office is a small but concrete step towards taking care of our own children and families on and off reserve,” concluded Grand Chief Meneen.

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Men's Gathering ignites the Warrior Spirit

by John Copley The Indigenous Men’s Gathering (IMG), “Igniting the Warrior Spirit” took place at the Edmonton Inn and Conference Centre on February 27-28, 2018. The Edmonton event, presented by Dennis Cameron and Visionary Planning, Development and Management Group, was preceded by similar gatherings in Saskatoon and Winnipeg, and will continue later this month in Kamloops, B.C. and Thunder Bay, Ontario.

The two-day Igniting the Warrior Spirit gathering focused on the unification of Indigenous men and dealt with topics that included reviving and understanding old teachings, overcoming the impacts of colonialism, truth and reconciliation, respecting Elders and the important roles they play both in and away from the community, men’s health, addictions recovery, traditional health and customary lifestyles, economic development and education and career planning.

The subjects were varied and diverse and throughout the gathering participants were encouraged to connect with one another, to network and share thoughts and ideas.

They were encouraged to share their stories, talk about their concerns, and to provide their contact info so that follow-up could take place after the IMG event.

Igniting the Warrior Spirit, the theme of the IMG initiative, is a term symbolic of what many Indigenous leaders believe to be a key ingredient in the recipe needed to revive the strength and resiliency that Indigenous peoples and communities once shared - getting back to one’s roots.

“I know many of you have attained a thorough western education and that’s a good thing,” noted IMG host Dennis Cameron, “but you also have personal knowledge and abilities and experiences that can help your brothers as they also seek answers on their personal roads to recovery.

Connect with one another, speak to each other and learn from one another. Communication is important and necessary because when we work together to reach similar goals we can open those doors more easily and we can find the answers we are searching for.”

In a prelude to the event Cameron talked about the “vast diversity” that exists throughout Indigenous Nations, noting that despite the many differences “we all have a common goal of building and sustaining our Nations.”

But, he noted, “we cannot do this without the existence of our people. There are many who have come a long way in their healing process, given all the wrongdoings they have endured. However, there are those that have not started their healing journey, nor have the generations that have been subjected to the vicious ripple effect that has plagued our peoples. This is largely due to the disruption and intrusion of our customary practices, beliefs and systems that we utilized since time immemorial. Given this statement, I remind us all, to keep our foresight on the future in a good and kind way, so that generations after us, are here to stay.”

The Gathering and its accompanying trade show got underway at 9 a.m. on Feb. 27 following a Pipe Ceremony

Indigenous Men's Gathering (IMG) Host Dennis Cameron (front row centre with arms crossed) sits with a group of event participants and speakers near the end of the two-day gathering in Edmonton.

and a prayer by Pelican Lake, Saskatchewan Elder Glen Chamakese. Following a welcoming and opening remarks

by Cameron the nearly 150 participants heard from session facilitators, participants, keynote speakers and others who were invited to the podium to offer their stories, experiences and words of wisdom.

The first Keynote Speaker to address the gathering was Indigenous Ambassador and member of Saskatchewan’s One Arrow First Nation, JR Larose, an accomplished athlete and former Canadian Football League star who won the coveted Grey Cup Championship in 2011. A proud family man JR’s path to success has been a long and hard-fought journey. Growing up in low income housing in Edmonton’s inner city didn’t exactly set JR up for success but it did give him the drive to succeed. JR’s Mom, Barbara, was a survivor of the Residential School system, where many First Nations children were torn from their families and culture only to be abused by those who promised them an “enlightened life.”

Afternoon sessions began with Thunderchild First Nation facilitator, Savana Walkingbear, whose topic, Youth Mentorship: Indigenous Intergenerational Effect Movement discussed “reconnecting and strengthening our Indigenous identity through health, sport, culture and Indigenous education.”

Walkingbear, a Camosun College graduate who earned his Indigenous Family Support Certificate also completed five years as an Elite Student-Athlete in the Canadian College’s Athletic Association (CCAA) In his comments, Walkingbear noted: “I encourage all Indigenous peoples to learn about who we are and where we come from. We must understand our past to educate the present to better our future.”

The first afternoon session was hosted by Poundmaker First Nation member, Carlin Nordstrom. He spoke from the heart as he addressed his life’s experiences and talked about his desire to see youth succeed in life. His topics included goal-setting, anti-bullying, self-empowerment, determination & control, building healthy relationships, attaining a positive focus and eliminating barriers.

Other sessions were hosted by George Morin who sought justice for the unwarranted killing of young Colten Bushie; Samson Cree Nation facilitator Patrick Buffalo, whose subject, Totamaso Healing in Indigenous Communities, delved into the topics of hypnotherapy, reiki massage and complementary therapies; and Wayne Mason, a member of the Fisher River Cree Nation and the Executive Director of the Way-Say Healing Centre. He

works primarily with Indian Residential School students and their families in accessing appropriate levels of emotional health and wellness support services.

A Pipe Ceremony, prayer, and Drum Song got IMG’s second day of sessions off on the right foot. Drum Song performer, Neil Sioux, a member of Manitoba’s Sioux Valley Dakota Nation also participated as the day’s Keynote Speaker. Currently employed by the QBOW Child and Family Services in Ft. Qu’Appelle, Sask., Sioux has extensive experience and knowledge of the justice system, CFS, cultural based programs, traditional and ceremonial practices, drum groups, Indigenous world views and how they are key when it comes to benefitting community-based programs and healing practices.

Mr. Sioux said that he considers himself to be one of the lucky ones in that he had the opportunity to be surrounded

by Elders and visionaries who helped to show him the path to an active and fulfilling future. He told the gathering that the wisdom and paternal/maternal experiences that the Elders share in every Indigenous community are important and need to be paid attention to, even though they are sometimes misunderstood.

“Our Elders share their views, share their stories, share the protocol of ceremonies and if not for that, I’m not certain of where I would be today,” he said. He told the gathering that as a baby in a hospital run by the Catholic Church he was about to be picked up by an adoptive family when his grandfather showed up and carried him away.

“I guess he kind of stole me from the hospital,” he said to the delight of the audience. “He kept me hidden for the two years that it took to get all the paperwork straightened out. I’m very thankful for that. I grew up with a single mom but I was also raised by my grandparents. I grew up knowing my culture, I grew up knowing our traditions, I grew up speaking our language and I grew up with ceremony. That’s why when I talk about healing I always resort back to my grandfather; he was my teacher, he was my mentor, he was my hero. He had attended LaBrete Indian Residential School for the biggest part of his young life; he left the school when he was 16 years old. He was later conscripted into the army as an infantry soldier and was a sniper in World War II. When he participated in storming the beach at Normandy, he was just 17 years old.”

Sioux said that he didn’t experience what so many other Indigenous children did when he acted up because “I was never hit, I was never yelled at or scolded or received (corporal) punishment. Growing up on the reserve I felt kind of guilty just seeing and knowing what my friends had to endure.”

Today Neil Sioux is a Cultural Liaison who uses “our cultural ways to assist communities and families to begin the healing process through cultural awareness Continued on page 12

March, 2018

Alberta Native News

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‘Children of God’ brings a tale of abuse and resilience to the stage

by John Copley The audience hears a faint sound of a distant drum, the lights slowly begin to brighten and the stage opens in a northern Ontario Indian residential school. The date is uncertain because the government sanctioned, church administered schools, which were designed to “civilize” Canada’s Indigenous peoples and assimilate them into western culture, operated in Canada for nearly 200 years; the last one didn’t close its doors until 1996.

Children of God, the creation of writer, director and musical intellect Corey Payette is an eye-opening, educational and particularly moving experience about the lives of two Indigenous siblings, Tommy and Julia (played

by Dillan Chiblow and Cheyenne Scott). The children, like tens of thousands of others, had been removed from their families and communities and placed in the school under the watch of the church - in this setting represented

by Father Christopher (David Keeley) and Sister Bernadette (Sarah Carlé). The old-style steel beds and grey woollen blankets are set up in what appears to be some kind of cave. Enter Father Christopher - at first just a menacing shadow making the rounds and issuing orders.

The audience has had time to appreciate the undignified, if not inhuman way in which the children are being treated

by Sister Bernadette and Father Christopher. You could almost hear the gasp and feel the anger when it becomes obvious that Christopher is a pedophile.

The performance, which runs about two and a half hours in length, comes with a 15-minute intermission; facilitated talk-back sessions about truth and reconciliation follow each performance and the audience is encouraged to participate.

Children of God offers a haunting look into what it was like living in an Indian Residential School - an oppressive environment where punishment was ongoing and personal choice was non-existent. The set changes as time goes by, switching back and forth between their time at the school and then 20 years or so later when the impacts of the residential school years are evident. Tom is unemployed and in a foul mood. He’s recently separated from his wife and children and living with his mom. They fight with one another, failing to understand that they both have had traumatic experiences they need to conquer. Their stories need to be shared so they can heal.

Children of God is an exceptional work of musical theatre. The story is powerful and the audience is on an emotional roller coaster. The music is haunting and

sorrowful but the chanting, the dancing and the drum beats are so well placed that the audience is uplifted.

The on-stage action was both fluent and fluid and though every actor handled his and her roles beautifully, special note has to be given to the outstanding performances of Sandy Scofield (Tommy’s mother, Rita), David Keely, and Dillan Chiblow.

Scofield’s remarkable performance saw her turn from a desolate mother who loses her kids to a harsh-speaking woman to a mother whose heart is opened through song and the sound of her incredibly beautiful voice shines through. Keely was magnificent as the overbearing and cruel Father, so much so you had to stop yourself from shouting out a warning when he approached the girls’ dormitory. Chiblow is a tough act to follow - his mastery at switching from school boy to grown man on a moment’s notice was amazing to see - and hear especially as he changed his voice, cadence, facial expressions and gait to suit the moment.

When writer, director and musical intellect Corey Payette wrote the script to this extraordinary musical, he knew the subject matter would be difficult for some audiences to endure, but he also realized if reconciliation is to become a reality in the foreseeable future, every Canadian must be brought up to date on the nation’s history, a history that for the most part, has not been kind to Indigenous Peoples.

“There’s a real chance that reconciliation can work in Canada, but for this to happen Canadians have to know the truth and they have to become involved; they need to participate, engage and decide to learn about Indigenous peoples and that’s what we are trying to achieve,” Payette said in an interview following the play’s opening night performance in Edmonton’s Citadel Theatre.

Payette said as much as he wants the public to see the show so they can get a better understanding of how and why Indigenous children suffered at the hands of religious organizations when they were taken from their homes and communities, he is hopeful that they will carry the images and the messages they take from the production and pass them forward.

Payette said he’d like to see everyone in the capital

Children of God is playing at the Citadel Theatre in Edmonton until March 24.

region come out to watch the Citadel Theatre production because “we want to see all Canadians involved in reconciliation and we are hopeful that this play will act as a catalyst that will encourage more people” to get involved.

He also encourages members of the Indigenous communities to “come out and see the production; we want to get feedback from everyone. We need your input; your participation will help us to answer (the age-old) question: Where do we go from here?”

The playwright said he realizes that the production will bring back some memories that many former students and families are trying to forget. To combat that grief, every performance has Elders and caregivers on hand who are prepared to help anyone who needs to talk.

Children of God launched its world premiere in Vancouver in 2016 and before arriving in Edmonton had spent much of the past year in Ottawa. Before its Vancouver debut, however, Children of God was worked on and rehearsed at the Tk’emlüps Indian Band’s Chief Louis Centre, the home of a former residential school.

“It was a remarkable time,” noted Payette, “and one that helped to create memories that will last a lifetime. We reached out to 17 different Indigenous communities in B.C. and we had great turnouts. It was a very emotional experience for most who came to see the work, but everyone agreed that it is a story that had to be told.”

Citadel Artistic Director Daryl Cloran began his tenure with the Citadel Theatre in September 2016. He came to Edmonton from his role as Artistic Director of Western Continued on page 8

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Alberta Native News Book Review

Norval Morrisseau: Man Changing into Thunderbird

By Armand Garnet Ruffo Publisher: Douglas & McIntyre ISBN: 978-1-77162-158-8 February 2018 Reviewed by Regan Treewater Images taken from First Nations folklore are a familiar sight for most Canadians. A great number of these have been inspired by or are the work of one influential artistic pioneer – Norval Morrisseau (1931-2007).

“Following on the heels of his incredible success, a younger generation of painters, both Native and nonNative, followed in his style and became known as the Woodland School of painters, the only Indigenous school of painters to emerge in Canada,” explains Armand Garnet Ruffo in his recent 2018 semi-fictional narration of the life and career of this creative legend.

Ruffo, an Associate Professor in the Department of English Language and Literature at Queen’s University in Kingston, Ontario, is of Ojibway heritage, as was Morrisseau himself. The cultural kinship between author and subject provides readers with rich insights and a sense of authentic continuity. In Norval Morrisseau: Man Changing into Thunderbird, this prolific author of both fiction and non-fiction, explores the turbulent story of one of Canada’s most celebrated figures.

“The more I thought about Morrisseau and his life, the more I realized that his experiences, while extraordinary in their own right because of his unique gifts, were fundamentally connected to something larger than himself,” writes Ruffo. “I realized that Morrisseau’s life was representative of the profound upheaval that had taken place in the lives of Native people across the country.”

Ruffo’s comprehensive examination of Morrisseau’s life and legacy highlights the bright, the dark, and every shade in-between that together compose a sincere portrait of the man behind the canvas.

The book’s title is a poetic homage to Morrisseau’s own lifelong spiritual identity negotiation. Copper Thunderbird, the name given to him at the age of nineteen while battling serious illness, would forever be a symbol of rebirth and healing. Ruffo’s lyrical title would seem to suggest that Morrisseau’s true journey to reclaim his

Children of God

cont. from p 7

Canada Theatre (WCT) in Kamloops, where he had had

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March, 2018

suppressed cultural identity, was a voyage of discovery that lasted a lifetime.

Ruffo’s approach is both documentary and novel. The opening pages transport the reader back to September 12, 1962, where Morrisseau is ready to attend the official opening of his thirty-five-piece exhibition at the Pollock Gallery in Toronto - a place of significance throughout his career. From here, the temporal boundaries melt away, and the reader is introduced to Morrisseau at six-years-old when he first puts pen to paper and spills his child’s imagination onto the page: “And like a loon calling the evening in, Morrisseau breaks through the surface of the blank paper. And he makes his first mark.”

In what is simultaneously an effectively informative, yet slightly disorienting approach, Ruffo’s tone vacillates between observatory analysis and illustrative narration while describing Morrisseau’s early years under the watch of his devout and self-effacing grandmother.

Ruffo provides a vivid glimpse at Morrisseau’s fundamentally conflicted cultural sense of self. He emphasizes that it is this psychological tug-of-war waged between imposed European values and Morrisseau’s deep spiritual connection with his own heritage, that at times in his life overcame him. “He dreams for his thunderbird spirit to come in for the kill. The man wants to destroy his body that has a mind of its own,” writes Ruffo.

A victim of the residential school system, Morrisseau suffered from alcoholism throughout his illustrious career - a reality that Ruffo begins to explores in his text.

Haunted by the pain of institutional internment, abuse was an unescapable reality despite the notoriety and fame he would eventually attain. However, as Ruffo depicts without question, Morrisseau was, first and foremost, an artist. “Although completely lacking in formal training, he has no inhibitions about how to paint. When someone suggests he consider art school, he makes it a point to tell them that he is a born artist who paints every day.”

Despite his confidence as an artist, Morrisseau bounced between bouts of dark depression and unprecedented creativity. “The first Native painter to make it into bigtime Toronto. Twenty-eight pieces snatched up and bought, art buyers like fish in a feeding frenzy.” Ruffo contrasts this with descriptions of the artist’s well-known addiction: “For a moment Morrisseau thinks he must be dreaming, and it crosses his mind to turn over and go back to sleep, hold onto his dream, but the room is now thick with pungent smoke, and he begins to cough and hack up black Phlegm of soot and whiskey as the vivid colors of the room begin to melt into grey and black.”

Ruffo’s tribute is often very forgiving of his subject’s misdeeds and downplays the severity of Morrisseau’s

more regrettable actions – his own culpability in alienating his family.

What is exceptionally strong in Ruffo’s rendering is the precision with which he discusses Morrisseau’s artistic ascension to Canadian icon. He spares no detail when describing Morrisseau’s solo exhibitions, visually daring critical expressions and the intricacies of his most meaningful professional relationships. The reader that approaches the text with no prior knowledge of the twentieth century art world will come away feeling like a connoisseur.

Norval Morrisseau received the Order of Canada in 1978, was awarded honorary doctorate degrees from McGill and MacMaster Universities and recognized by his people in 1996 as the Grand Shaman of the Ojibway.

He broke through barriers that many still struggle with today and did so in a way that impacted the trajectory of Canadian society.

Ruffo’s Norval Morrisseau: Man Changing into Thunderbird is an excellent read for those with no prior exposure to Morrisseau as well as those who are already familiar with his work. Ruffo’s injections of poetry interspliced with documentary style narration can be playfully whimsical and painfully raw. Although Ruffo’s tempo is modest, the reader is compelled to hungrily consume each word. “Morrisseau is left to find his own wings and he does, painting his own remembering.”

some involvement with the Children of God production.

“I knew this was going to be a good play the first time I saw it,” Cloran noted. “When I came to Edmonton I wanted to be sure that we were able to show it.”

Ironically, once the show has run its course in Edmonton it will head west to Kamloops for a two-week run at the Western Canada Theatre. Cloran has worked on plays involving Indigenous people before, noting that “we had a very strong relationship with the Indigenous communities around Kamloops, but this is the biggest production of its kind that I’ve been involved with.”

Is this a story that needs to be told?

“Definitely,” he emphasized. “It’s an important story and an important part of Canada’s history. Corey has done such a magnificent job of telling this story and the music he’s written for it is beautiful. It’s very hard-hitting and dramatic but I think he’s found a way to offer hope; he hasn’t solved everything and he leaves us with some very tough questions - like how are we as an audience going to move forward with reconciliation and how are we going to work together?”

Any surprises?

“Yes, the biggest thing that continues to surprise me is that for many of our audiences this is the first time they’ve heard about the residential school or they didn’t realize the depth as to what happened with the schools. For me, I think this is a great way of bringing this information to the forefront and make it a part of our consciousness.”

Christine Sokaymoh Frederick, the Citadel’s Indigenous Associate Artist is an urban Aboriginal Cree-Métis woman with thirty years of performance experience. Over the years she has represented Canada on the international stage as a dancer, musician, media artist, writer, producer, and actor.

“In this time of Truth and Reconciliation,” said Frederick, “it is important to see the work of Indigenous and Aboriginal artists, such as Children of God. Not only is it a stunning work and excellently performed, but it speaks to the Truth. We are still in the "Truth" part of the TRC process, and we need to spend some time there before we leap or rush towards Reconciliation. We need multiple approaches in sharing information and education with other indigenous peoples and with Canadians. The Arts are a vital part of Truth and Reconciliation. The human rights violations as defined by the United Nations include cultural and capacity deprivation, therefore when Indigenous and Aboriginal artists practice art we are literally redressing those violations and rebuilding our culture and identity. Children of God is having a great impact on audiences and the arts community, many people are sharing that even though they heard or read about the TRC statements and Calls to Action, this work touched a deeper part of their humanity, and that's what our Elders have told us, that the Arts were meant to communicate our humanity. I know the Creator is listening, it’s time for Canadians to experience it too.”

March, 2018

Alberta Native News

9

Sharing the stories of Cadotte Lake students

By Deborah Shatz Lorne Dach, MLA for Edmonton – McClung and Richard Feehan, Minister of Indigenous Relations, showcased the writing skills of Cadotte Lake School students in northern Alberta at a special book reading at Callingwood Elementary School in Edmonton on Feb. 27.

In addition to the readings, MLA Dach donated several books to the Callingwood School library, including “Traditional X: Stories from the Rez,” a collection of stories written by students in Cadotte Lake First Nation and compiled by their late teacher Sana Ghani. A representative from the Ghani family was also in attendance at Callingwood School for the presentation.

Sana Ayesha Ghani was a dedicated and enthusiastic teacher who guided her grades 5/6/7 students at Cadotte Lake School to find their voices and tell their own stories.

She helped them expand their horizons and she inspired them to express themselves in prose and poetry. Ms. Ghani, whose family lives in the McClung neighbourhood of Edmonton, not far from Callingwood School, died tragically in a car accident last month. Her legacy lives on in the hearts of her students and colleagues as well as in her community of friends and family.

One tangible result of her teaching is the booklet “Traditional X: Stories from the Rez” that garnered a first place 2017 Group Writing Award from Historica Canada and helped empower the Cadotte Lake students to express themselves in a written format.

The book features traditional tales and personal anecdotes written by the students with titles such as: Stories of the Klemtu, Jingle Dress Dancer, Muswa’s Nose, Whitako and the Girls, Bad Medicine and others. It also includes pictures drawn by students and poetry with titles such as: 1 bully 2 blocks 3 secrets and Broken Bottle.

The book is a celebration of self-expression.

MLA Dach was moved by Sana’s kindness and dedication and wanted to honour her memory in her home community in Edmonton. He described Sana as a 29-year-

Teacher Sana Ayesha Ghani (Photo supplied)

old Muslim woman with roots in India and in Edmonton, who became a teacher with a genuine enthusiasm to make a positive difference in the world of her students.

When she arrived at Cadotte Lake school, she that her discovered students didn’t know how to express themselves – especially in a written format.

MLA Lorne Dach and Minister of Indigenous Relations Richard Feehan attended a Ms. Ghani introduced book reading at Callingwood Elementary School in Edmonton and shared a them to literature that collection of stories from the Cadotte First Nation School in northern Alberta. could inspire them, such as the teachings of Malcolm X and Sherman Alexie’s novel The Absolutely True Diary the Rez.” A group of the students accompanied Ms. Ghani to of a Part-Time Indian as well as the music of hip-hop artist Edmonton City Hall on June 29, 2017 for an official book Brother Ali. She encouraged her students to find their own launch.

The event included a special address by Edmonton voices by telling their own stories.

Don Iveson and a traditional dance performance by Mayor In the booklet’s preface, Ms. Ghani wrote that, “Two the students. years ago, I came to Cadotte as an outsider, a teacher, a The booklet - which is available now at our-story.ca guest to Treaty 8 territory. I was a practicing Muslim a message from Alberta Premier Rachel Notley, includes woman of Indian descent on the rez. And the kids didn’t extending her deepest thanks to the students of Cadotte know what to make of me: So, you’re a different kind of Lake School and Woodland Cree First Nation for Indian?” contributing to this book. She wrote, “Your personal As Ms. Ghani introduced her students to a variety of reflections are inspiring.

I hope you find solidarity with writers including those who were from marginalized each other and lean on one another as you make a backgrounds, their creativity and confidence began to difference in our province.

Your stories illustrate the emerge. tremendous power that each one of us has to create “I started to see a nudge in my students’ mindsets. I saw positive change.” their sense of historical and social consciousness begin to The premier continued, “Thank you also to Ms. Sana develop. One student asked me, “Ms. Ghani, you say you Ghani for your passion and commitment to sharing your want us to change the world. But how do we do that if students’ words, hopes and dreams with all of us.” we’re just sitting in the classroom, writing in our MLA Dach said that the booklet was received very journals?” This was one of the most exciting challenges graciously by students and teachers at Callingwood I’ve received.

School, which is located in the west end of Edmonton in “Collecting their stories would be the first step. But I the McClung riding. The school population at had told them the importance of connecting with people Callingwood Elementary School is approximately 25% different from themselves. They needed to share their FNMI and a “seed was planted” to encourage ongoing stories with people beyond their community... They communication between Callingwood School and needed this to be a conversation. Connection is the point.

Cadotte Lake School.

Sharing our humanity with people different from MLA Dach described other events that have taken place ourselves is the point.” in McClung to celebrate Indigenous People and their The students were inspired and wanted to share their cultures including a very successful gathering that was stories but were doubtful that anyone would hear what held in July 2016. He said that event featured Indigenous they had to say. In the Spring of 2017, Ms. Ghani launched dancers and singers and concluded with a round dance by a crowdfunding campaign to raise money to publish their 450 Indigenous and non-Indigenous community work; she raised $3,800 from donors across North members.

He said he’d like to see a National Aboriginal America.

Day celebration held in the Edmonton neighbourhood on The result was an empowering learning experience for an annual basis. the students and sufficient funds to publish 250 copies of the award-winning booklet “Traditional X: Stories from

10

Alberta Native News

March, 2018

Conference examines practices in Indigenous consultation

by John Copley On February 20-21, 2018 the Sutton Place Hotel in downtown Edmonton provided the venue for the 11th Annual Western Indigenous Consultation & Engagement (WICE) conference. The annual event, expanded this year to give participants more opportunity for interactive learning, improved networking opportunities and tools with which to build stronger relationships, was hosted by The Canadian Institute (CI), a Canadian owned and operated entity responsible for the creation of over 1,700 conferences since its inception in 1985.

A well-attended conference, WICE Edmonton 2018 was a virtual who’s who of Chiefs, senior executives, stakeholders, community relations experts, Indigenous and government policy analysts, legal teams, oil and gas executives, environmental service professionals, government leaders and more.

The agenda got underway just after 8:15 a.m. when Elder Betty Letendre opened the first day of the conference with a traditional welcoming and Conference Chair Koren Lightning-Earle greeted the gathering, addressed the Elders and offered opening remarks about the conference and the significance of the event.

Alberta’s Indigenous Relations Minister Richard Feehan was the first speaker to address the large turnout; he was followed by Joe Wild, Indigenous and Northern Affairs Canadas’ Senior Assistant Deputy Minister, Treaties and Aboriginal Government. His keynote address focused on the topic: Building Nation-to-Nation Partnerships in Alberta.

During the first day of the conference more than nine speakers addressed the gathering and discussed topics that included: Consultation Case Law, and updates on Alberta’s Consultation Office Policy; and an hour-long discussion that embraced both conversation and explanation on the interaction between Federal, Provincial and Community Consultation Policies. The afternoon sessions got underway with the topic: World Café Consultation, Engagement and Building Lasting Relationships, a 90-minute session that included managers, legal experts and Indigenous Initiatives Liaison Koren Lightning -Earle, a member of the Law Society of Alberta’s Indigenous Bar Association.

During the second day of the conference more than nine speakers addressed the gathering and discussed topics that included: First Impressions of Bill C-39 (David Laidlaw); Traditional Knowledge and Land Use Studies (Darryl Sowan); Keeping Up with Consultation Record-keeping

(Jorge Avilés and Guy Shuhimller); Indigenous Governance and SelfDetermination (Kluane Adamek) and others.

After opening remarks delivered by were (L-R) Brian McGuigan, Desiree Finhert, Mick Elliot, Koren Lightning-Earle and Lightning-Earle, Brian Jorge Avilés McGuigan, the Manager of Aboriginal Policy for the Canadian Association of law.

“CAPP endorses UNDRIP as a framework for Petroleum Producers (CAPP) took to the podium and reconciliation in Canada. CAPP member companies addressed the topic: Implementing the United Nations the importance of reconciliation in Canada. acknowledge Declaration on the Rights of Indigenous Peoples We view natural resource development as linked to the (UNDRIP) - From Government to Business. broader Canadian reconciliation process. Within this McGuigan talked about the responsibilities that CAPP we acknowledge our activities have impacted process, has in enabling the responsible growth of the petroleum Indigenous communities.

Our industry has a role in energy sector via the organization’s mission to “advocate building respectful and mutually beneficial relationships for and enable economic competitiveness and safe, Indigenous Peoples.

CAPP calls upon its member with environmentally and socially responsible performance.” companies to ensure employees continue to receive He told the gathering that CAPP works primarily with appropriate education and awareness training regarding small groups, “specialists who handle the (various) Indigenous Peoples in Canada.” companies’ Indigenous relations work every day. We work McGuigan said that during the conversation that took together with them on the current issues that are facing the after the release of the discussion paper on UNDRIP, place companies in their (respective) practice areas and with it was a relatively simple process to get consensus because current Indigenous policy questions. We try to support the pretty much everyone was on the same page when it companies in how they think through those challenges and to supporting both Indigenous and human rights. comes also act as a single voice to the industry about some of “We had a very good discussion about it,” assured those policy questions. UNDRIP was certainly one of McGuigan.

“I imagine that everyone here today those areas that we spent some time on.” understands that UNDRIP is a human rights document, a He noted that it was in late 2015 when CAPP began to document for the protection of Indigenous rights and focus on some of the questions initiated by UNDRIP. “In human rights.

It became very clear as we read through the spring of 2016,” he said, “we issued a discussion paper UNDRIP article by article is that for companies working on the implementing of UNDRIP in Canada.” in Canada, as a country that respects human rights and has That Discussion Paper, which is both reassuring and protection for those rights, it’s a valuable thing for a easy to read and understand is available on business.

That is something that all of the companies the CAPP.ca website by typing UNDRIP into the search around the table values and it’s a piece that we tried to bar. reflect in our discussion paper.

In the preamble to that discussion paper CAPP noted “When we went through the document clause by clause that in 2007 the “General Assembly of the United Nations the vast majority of those clauses were sound; there was adopted the United Nations Declaration on The Rights of really no need for much discussion because everyone Indigenous Peoples (UNDRIP),” and spoke briefly about around the table was very supportive of it. We put the the TRC’s 94 Calls to Action, including a “call to discussion paper out because we thought there was a need governments and the corporate sector” to adopt the for dialogue about UNDRIP and dialogue about document and apply its principles. implementing UNDRIP in Canada: we wanted to provoke It also speaks about CAPP’s unwavering support for some conversation.”

UNDRIP and the implementation of its principles in a The discussion paper was circulated to Indigenous manner consistent with the Canadian Constitution and leadership and later to ministers in both the provincial and federal governments. Feedback came from the Indigenous leadership, while none came from government.

The discussion paper, a must-read document for all Alberta Native News readers, is sectioned into six different topic areas including: Building Understanding, The Canadian Context, Preservation of Human Rights, Recognition of Culture and Education, Rights to SelfDetermination, Free Prior and Informed Consent and Economic and Social Sustainability.

McGuigan went on to note that though the UNDRIP document is generally accepted there are some challenges when it comes to the wording in the document.

“There is some ambiguity to that language and it opens different interpretations,” he explained, noting because of some of the wording, “there are some conflicting opinions around that.”

During his conversation McGuigan delved into the different sections of UNDRIP and later spoke about the federal government’s implementation of the document without talking to or consulting with CAPP or the Indigenous community.

In closing he noted that the reason he brought the subject Continued on page 15

March, 2018

Alberta Native News

11

WBF: Trades are a positive career option for women

by John Copley In October 2017 Edmonton-based Women Building Futures (WBF) launched a new initiative and for the first time in its 20-year history implemented an awareness campaign that not only embraced local and provincial radio and national television, but also sourced various internet and social media platforms that enabled the campaign to reach communities and organizations across the country.

The first phase of the campaign, called YOU GOT THIS took place between October 30 and November 19, 2017 with the second phase running from January 15 to February 4, 2018. Huge numbers of Canadians took part and when the campaign had run its course, WBF saw substantial increases in all social media platforms and email and telephone communication. Page views increased by more than 160 percent; there were nearly 67,000 campaign video views, a 228 percent increase in phone calls and a 265 percent increase in new applications.

“This new awareness campaign has a national focus,” explained Tammy Forbes, WBF Director of Communications and Government Relations. “YOU GOT THIS wasn’t designed as a recruitment campaign; what we and our partners are trying to do is to raise awareness that the trades can and should be a first-choice option for women.”

Forbes said that when “women decide they want to pursue a career in the construction and maintenance trades, we want to ensure that they get the support they need from both family and friends and from industry. We want society to see that trades-related fields are seen as a very positive career option for women.”

The second goal of the campaign, she noted, embraces industry.

“We are also encouraging and supporting industry in recognizing that hiring and having a diverse workforce with skilled workers, including women, is a very good business position for them to make. We have an extraordinarily strong network of stakeholders, industry and government supporters and ambassadors; the success we’ve achieved over the years by training women in helping them to secure employment wouldn’t have been possible without them.”

In fact, those partnerships have gone a long way in helping WBF gain the ground and earn the respect it’s received during the past 21 years. A list of about 20 Strategic Partners, dozens of Workforce Development Partners and a comprehensive list of “Employers of Choice” companies and corporations can be seen on the WBF website.

“WBF offers a tremendous contribution to the workforce and we are hopeful that this initiative will encourage even more businesses and industries to connect with us,” said Forbes. “We’d really like to see the numbers of women employed in construction and maintenance trades jobs rise beyond the five or six percent they currently represent. WBF-trained workers aren’t just women, they are qualified, skilled tradespeople who are fully prepared and ready to make a positive impact in the companies that employ them.”

WBF trades training begins with assessment and workplace culture and includes academic upgrading when needed, fitness to work, financial literacy, comprehensive safety courses and hands-on experience. WBF is a Social Purpose Organization (SPO) and registered charity, that has long been the leader in construction trades training for women. Their graduates, “95 percent of whom are employed,” are succeeding in the trades every day and maintaining their employment. The organization also works with employers to develop custom training programs to meet their needs, providing recruitment, assessment, hands-on training and job matching services.

WBF’s Senior Strategist of Indigenous Relations, Valerie Moses spends much of her time on the road talking to and working with Indigenous communities. She said:

“It is important to us (WBF) and to myself as a First Nations woman, to build reciprocal relationships with Indigenous communities. The actions we’ve taken to enhance our ability to provide reciprocal partnerships with Indigenous communities is to bring on two full time Indigenous community relations liaisons, Ms. Arlene Twin and Mr. Garett Strawberry.”

In the course of her work, Moses said that while she sees a lot of people on her visits to First Nations, Métis and urban-Indigenous communities throughout Alberta, her conversation is geared primarily for women 18 years of age and older.

“The message of our awareness campaign has been well-received and in fact has brought about an interesting result, though we didn’t intend it that way. The fact is that the numbers of women contacting us for more information and to ask about enrolment in a trades training program has seen a substantial increase since this campaign got underway last October. The interest in the communities about trades training opportunities for women is huge; our most recent Indigenous-specific training program saw the participation of women from 43 different Indigenous communities in Alberta.”

During the past year the numbers of women WBF has actively engaged with has risen from the mid-300s to more than 1150.

Moses said that she is “working together with our campaign partners, including the Native Women’s Association of Canada (NWAC) to both build better and stronger relationships with Indigenous communities and to continue to encourage more Indigenous women to become involved in the trades.”

Community support has been “fantastic,” noted Moses, who said that “our approach to relationship and partnership building with all of our partners is built on complementing, (not duplicating), the good work that other people are already doing out there.”

Moses emphasized that trades-related employment “aren’t just jobs that we are encouraging both Indigenous and non-Indigenous women to get involved with; these are truly transformation careers that will have a positive impact on the graduate, their families and their communities. The skills they learn here and the valuable experience they gain on the worksite have far reaching benefits both on the worksite and in the community.”

Valerie Moses is a member of the Alberta First Nations Women’s Council on Economic Security. Passionate when it comes to reclaiming women’s leadership roles and economic freedom of Indigenous communities, Moses is a member of Ontario’s Six Nations of the Grand River. In 2013 she was recognized as an emerging female Indigenous leader in Canada and participated in the Indigenous Women in Community Leadership program at St. Francis Xavier University, Nova Scotia. She is a former member of the Aboriginal Education Council at Brock University in Ontario where she studied Aboriginal Women’s Education.

Last year WBF graduated 190 students, a 20 percent increase over 2016. Thirty-five percent of the graduates were Indigenous women.

Graduates who secure employment in the trades will also experience huge financial benefits.

“Though it isn’t the primary reason we encourage women to take a serious look at a possible career in the trades,” noted Forbes, the fact is

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“graduates who secure employment” as a first-year apprentice in their trade of choice “will realize an average increase in salary of depending on the trade, earnings ranging from 132 to 250 percent.”

And it’s almost never too late to begin a career in the trades.

“We have graduates that are 22 years old and we have graduates that are in their mid-to-late 50s,” noted Forbes.

“Every woman who comes here is looking for opportunity and choice and that’s what Women Building Futures offers.”

Established in 1998, Women Building Futures is a leader in trades training for women, with extensive experience recruiting women into the heavy industrial workforce. The organization’s mandates are simple: to attract more women into the construction trades, provide trades training that meets the needs of women and industry, include mentorship and long-term support for women just entering the trades and for those already in the trades. The organization also examines and addresses the systemic barriers to the recruitment, training and retention of women in the trades and increases not only the number of women in the trades, but also the number of instructors and mentors.

Among the new training programs being offered at WBF this year are: Professional Class 1 Driver (application deadline is April 2 - start date July 3); Pathway to Apprenticeship/Heavy Duty Equipment Technician (application deadline May 4 - start date July 30); Professional Class 3 Driver (application deadline May 14 - start date July 30) and Journeywoman Start (application deadline May 14 - start date September 17).

Women Building Futures (WBF) is also gearing up for its inaugural WBF WORK PROUD Summit 2018: Trade Perspectives on October 2-4, 2018 at the Radisson Hotel in Edmonton, Alberta. This annual event will assemble leaders, influencers, and change-makers to share best practices to create workplaces that meet the challenges of the next generation.

For more information and to apply for a training program visit womenbuildingfutures.com or call 780-4521200.

12

Alberta Native News

March, 2018

SkirtsAfire empowers women

by Regan Treewater On March 8, International Women’s Day, Edmonton’s SkirtsAfire Festival kicked off its 2018 season with an opening ceremony celebration at the Nina Haggerty Gallery on 118 Avenue. The venue was standing room only, with a crowd as diverse as the makeup of this year’s showcase. The gallery walls, covered with decorative skirts, were barely visible through the sea of faces.

“I’m so proud in this time of movement and change to belong to SkirtsAfire, a diverse and daring festival that’s been giving women a voice and artists a platform since 2012,” declared Festival Director Annette Loiselle. A veteran of the Edmonton arts scene, Loiselle is one of the founders of the Freewill Shakespeare Festival as well as SkirtsAfire. Along with Festival Manager Brianne Jang and Festival Coordinator Kali Weber, Loiselle annually brings together female artists from the greater Edmonton area for a “multidisciplinary arts festival, featuring and elevating the work of women.”

Not a sound could be heard over the powerful vocals of local First Nations musician Stephanie Harpe who helped to greet patrons of the opening ceremony with her original lyrics accompanied by dynamic and captivating guitarist Steven Johnson.

The curator of this exhibition of symbolic skirts and installations of culturally significant clothing items was none other than Lana Whiskeyjack, a prolific and gifted local visual artist. Whiskeyjack, who is well-known for her artistic explorations of cultural identity issues managed to cultivate an immersive space of innovation and discovery. She and the SkirtsAfire colleagues were joined by revered Elder, Carola Cunningham. An enchanting woman with an immensely powerful presence, contrasted

Warrior Spirit

by her modest stature, Cunningham exuded wisdom and insight with every word she spoke.

“Ours is a tradition of woman leaders,” she explained gesturing towards Whiskeyjack. “We are fortunate to wear skirts. As we walk, the hems of our skirts gently graze the grass that grows atop Mother Earth’s fertile breasts - this reminds us that we are always connected to her lifegiving power.”

Assisted by Whiskeyjack, Elder Cunningham invited visitors to participate in a smudging ceremony as she explained in detail the significance and symbolism of each of her movements. “My teacher, who lived till the age of 113, always told me to never stop explaining,” mused Elder Cunningham.

As the Elder began to sing with a voice that resonated knowledge and beauty, Whiskeyjack moved around the circle of gathered patrons with sage, a woman’s herb. “In order to know where we are going, we must first know where we are coming from,” commented Whiskeyjack, gesturing meaningfully to the richly colored art pieces surrounding her.

In attendance was Alberta’s Minister on the Status of Women, Stephanie McClean. Minister McClean, a lawyer by education, continues to advocate for women’s issues throughout the province. She expressed her belief that festivals like SkirtsAfire, that showcase the spirit and innovation of the creative power of women, are essential to strengthening the symphony of diverse voices that distinguish our province as an oasis of culture. She emphasized that the multidisciplinary nature of SkirtsAfire is a testament to the tremendous contribution of Albertan women to the oeuvre ofCanadian art.

“I held the position of Aboriginal Spiritual Caregiver within the provincial Institutions,” he explained. “I worked with incarcerated men and boys. By teaching workshops, and by utilizing the Elders in every them our culture, they are able heal from their past. I have community.” committed myself as a helper throughout my professional He was previously employed by Manitoba Corrections career. Today I am a Pipe Carrier. I have been a Sun Dance and during his time there he worked in three different Chief for nearly 12 years, and I enjoy the life it brings. I prisons. have had the rare opportunity to be taught the gift of singing and Make Mak e a Diff Difference erence in Federal Federal Elections songs. My community has Be a R Returning eturning Officer Officer many Elders who still carry these old songs and Your opportunity to serve democracy in the riding of Sturgeon River–Parkland practices. It is my belief The work of a returning officer is challenging and rewarding. If you’re a leader with that in order to heal, management experience and knowledge of your community y, this th may be the job for you. today’s men and boys need to connect with spirit so As a returning officer, you will plan and manage federal elections in your riding during a ten-year appointment. Y You w represent Elections Canada and be on the front line ou will they can gain a better for electors and candidates. understanding of themselves and in doing so The hours of work vary between elections, but increase significantly in the year leading up to an election. will be able to heal themselves.”

To qualify as a returning officer, you must be a Canadian citizen, at least 18 years old, and live in the federal riding where you’re applying to work.

Speaker Jordan Apetagon is a member of To find out more about the role of a returning officer and how to apply, go to elections.ca cont. from p 6

Stephanie Harpe and Steven Johnson performed at the SkirtsAfire opening ceremony.

In a tribute to 2018’s Honorary Skirt recipient, the SkirtsAfire organizers were proud to recognize the incredible work of Muriel Stanley Venne. A noted activist for social equality, Venne was one of the Province’s first appointees to the Alberta Human Rights Commission.

She has been commended by the Women of the Metis Nation with the Metis Woman of the Year Award and has also received the Queen’s Jubilee Medal – and now, she joins 2017 Honorary Skirt recipient MP Linda Duncan as one of SkirtsAfire’s female inspirations.

The SkirtsAfire opening ceremony boasted a merging of all forces creative: music, visual art, movement and even a touch of the theatrical. Loiselle and her team brought together a diverse group of female artistic innovators from a collage of backgrounds. With the help of Elder Carola Cunningham, Lana Whiskeyjack, Stephanie Harpe and 2018’s distinguished festival honoree Muriel Stanley Venne, SkirtsAfire helped to trumpet the extraordinary work of Edmonton’s First Nations and Metis women.

Brava ladies!

Manitoba’s Norway House Cree Nation and a survivor of the intergenerational trauma of residential schools. Both of his parents were in residential schools and his father was a part of the 60’s scoop. At one point, he was a product of this broken system, a damaged environment that was haunted by the memory of the residential schools.

Addressing the gathering, he said: “I, like so many others, sometimes wonder what life would have been like if we hadn’t been exposed to decades of deliberate abuse, neglect and violence. I think that it is very important that we gather together to share our stories and talk about what we have to do, both individually and collectively, to ensure a brighter and better future” for the generations yet to come.

But he added, “my children will not know the pain of intergenerational trauma. Every day I wake up sober, a free man, surrounded by people who truly love me and believe in me.”

Apetagon said he feels “blessed” and “vows daily” to himself that he will never walk that path of destruction again.

“I am worthy of love. I am worthy of forgiveness. I am worthy of a good life.”

and click on Employment or call 1-800-463-6868.

The online application is available until April 6, 2018.

NEHIYAW PIMATISIWIN

Contribuez C ontribuez au succès succès des élections ffédérales édérales

Vous avez l’occasion de servir la démocratie dans la circonscription de Sturgeon River–Parkland Le travail du directeur du scrutin est stimulant et enrichissant. Si vous êtes un meneur possédant de l’expérience en gestion et une bonne connaissance de votre circonscription, ce poste est peut-être pour vous.

Le directeur du scrutin planifie et gère les élections fédérales dans sa circonscription.

Il est nommé pour une période de dix ans. Il représente Élections Canada et traite directement avec les électeurs et les candidats.

Le nombre d’heures de travail varie entre les élections, mais il augmente considérablement durant l’année précédant une élection.

Pour être admissible, vous devez être un citoyen canadien âgé d’au moins 18 ans et résider dans la circonscription pour laquelle vous posez votre candidature.

Pour en savoir plus sur le rôle de directeur du scrutin et la manière de soumettre votre candidature, allez à elections.ca et cliquez sur « Emplois », ou faites le 1-800-463-6868.

Vous pouvez postuler en ligne d’ici le 6 avril 2018.

Elections Canada is an independent body sett up by

by P Parliament arliament to conduct feder federral elections, by-elections and refferendums. Élections Canada est un orrganisme ganisme indépendant indépend dant établi par le P Parlement arlement pour conduire les élections générrales, ales, les élections partielles et les réfférendums fédér fédérraux.

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March, 2018

Alberta Native News

13

Notice of Application Application No. 1907303 Suncor Energy Inc. Athabasca Oil Sands Area

The Alberta Energy Regulator (AER) has received application 1907303. This application has been submitted under the AER’s Integrated Decision Approach, which allows applicants to apply for multiple activities under a single application.

Description of the Application vation Suncor Energy Inc. (Suncor) has applied under the Oil Sands Conservation Act, Environmental Protection and Enhancement Act, Oil and Gas Conserv Act, Pipeline Act, Public Lands Act, and Water Actt to construct, operate, and reclaim the Lewis In Situ Project. The project would recover 25 436 cubic metres per day (160 000 barrels per day) of bitumen from the McMurray Formation using steam-assisted gravity drainage technology. The project would include • • • • • • •

a central processing facility with associated facilities, cogeneration facilities, thermal injection wells, production and disposal wells, well pads, stormwater ponds, and associated infrastructure, including multiuse corridors, pipelines, and roads, as well as land access.

The project would be located about 25 kilometres (km) northeast of the city of Fort McMurray and about 18 km southeast of the community of Fort McKay, within T To ownships 91 to 93, Ranges 5 to 8, West of the 4th Meridian, in the Regional Municipality of Wood Buffalo. Construction would start as early as 2024.

Suncor has also submitted an environmental impact assessment (EIA) report. This report forms part of the application to the AER. For a copy of the application, contact Suncor Energy Inc. 150 – 6 Ave SW Calgary, AB T2P 3E3 Attention: Mike Morden Telephone: 403-296-3742 Email: mmorden@suncor.com Alternatively, submit an information request, as outlined at www1.aer.ca/ProductCatalogue/ /o ordering.html, to AER Order Fulfillment Suite 1000, 250 – 5 Street SW Calgary, Alberta T2P 0R4 Telephone: 1-855-297-8311 (toll free; option 2) Email: InformationRequest@aer.ca Refer to this notice when requesting information for a faster response.

Copies of the application are also available at Alberta Government Library 44 Capital Boulevard 11th Floorr,, 10044 – 108 10 Street Edmonton, Alberta T5J 5E6 Telephone: 780-427-2985 (toll free: 780-310-0000) Requirement to File a Statement of Concern If you have concerns with this application, you must file a statement of concern as described below. If you do not file a statement of concern, the AER may approve the application without further notification.

How to File a Statement of Concern For your submission to be considered a valid statement of concern, it must be filed before 4:00 p.m. on May 2, 2018. Send one copy of your statement of concern to Suncor at the name and address above and one copy to Authorizations Alberta Energy Regulator Suite 1000, 250 – 5 Street SW Calgary, Alberta T2P 0R4 Fax: 403-297-7336 Email: SOC@aer.ca Contents of a Statement of Concern For your submission to be considered a valid statement of concern, it must include a) why you believe that you may be directly and adversely affected by a decision of the AER on the application; b) the nature of your objection to the application; c) the outcome of the application that you advocate; d) the location of your land, residence, or activity in relation to the location of the energy resource activity that is the subject of the application; and e) your contact information, including your name, address in Alberta, telephone hone number, and email addr add ess or, if you do not have an email address, your fax number.

Confidentiality Section 49 of the Alberta ta Enerrgy gy Regulator Rules of Prractic actice (Rules of Prractic actice) e) requires that all documents and information filed in a proceeding be placed on the public record. If you file a submission, you must not include any personal information that you do not want to appear on or are not authorized to put on the public record. Section 49(2) of the Rules of Prractic actice states how to apply to the AER for an order to keep information confidential. The Rules of Prractice is available on the AER website at www.aer.ca.

Jurisdiction Submissions relating exclusively to compensation for land use are not dealt with by the AER and should be referred to the Alberta Surface Rights Board.

Under section 21 of the Responsible p Enerrgy gy Development Act, the AER does not have the jurisdiction to assess the adequacy of Crown consultation g associated with the rights of aboriginal peoples as recognized and affirmed under the Constitution Act, 1982.

For information on AER procedures, contact Hasin Haroon, In Situ Authorizations, by phone at 780-642-9236 or by email to hasin.haroon@aer.ca.

Alberta Energy Regulator Patricia M. Johnston, Q.C., General Counsel

Issued at Calgary y,, Alberta, on February 27, 2018.

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Alberta Native News

March, 2018

Bearclaw Gallery features Jessica Desmoulin From March 10 - 22, the Bearclaw Gallery in Edmonton will feature a collection of new works by acclaimed artist Jessica Desmoulin. The exhibit is entitled "Ancestral Memories."

“I do not know how to describe my inspiration to paint,” explains the artist. “In this series of work the ideas were fluid, like I had seen all the images before. I feel like there is this incredible spiritual place that I connect with when I paint, and that what I lay down on canvas has been passed to me through those before me, through Ancestral Memories. Everything came together with such ease. I would look at the colours on my palette and not even hesitate to make a choice. The images and composition were immediate, I did not labour over any of the details.

In my mind I was guided by my ancestors.”

Jessica Desmoulin was born in Saskatoon, Saskatchewan on September 18, 1978. She is Ojibway of the Pic River First Nation. As a child she lived in Rochester, Alberta and later in Sparwood, British Columbia. Jessica currently lives with her family in Edmonton.

After the birth of her second child, Jessica developed an illness that left her unable to work outside the home.

Jessica took this opportunity to approach her art seriously and began to paint canvases and occasionally buffalo skulls. She credits the love and support of her family for allowing her the chance to explore her love of art.

Jessica is fascinated by the patterns that appear in nature and she expresses that fascination in her art.

Climate

cont. from p 2

looking to the Indigenous communities for answers to climate change. In response, Wetchie mentioned that it wasn’t the Indigenous People who polluted Mother Earth but everyone must do their part to reverse the effects of global warming.

As an example, Wetchie said her home reserve incorporates solar power as a means of off-setting the use of negative energy sources that contribute to harmful emissions.

Scientist Andreeff couldn't agree more. "Political will" is an issue for this country, he remarked. "How to deal with it (climate change) is the big question...We need government to help by documenting their (elders and knowledge keepers) stories and knowledge," he noted.

And they can do it better by working closer with our people. A few considerations they must employ are: "research, facilities, equipment, field work, getting the youth out on the land to learn about it," among others.

Cliff Supernault has had a long-standing association with both the Alberta and Saskatchewan governments. He noted that over 200 countries signed the United Nations convention on climate change and environmental damage.

"I make sure that Indigenous knowledge is included. A lot of it is not passed on," he stated. "There are two world views, western and Indigenous."

However, he added, "they're so far apart we have difficulty bringing them together to make it work."

Regarding hunting and protection of the environment, he said, "we're not included."

"Inclusion is important," he affirmed. For instance, "we

“Patterns occur in nature over and over,” remarks Desmoulin. “They are found in the rings of a tree, the waves in the ocean, the cracks in the earth and the petals on a flower. I am fascinated by these patterns and by how colour plays an essential role in creating their design. It is said that Nature is ‘the greatest artist’, and I cannot argue with that. I draw my The Conversation © by Jessica Desmoulin is on exhibit at Bearclaw Gallery. inspiration from Nature special meanings to me. The swan represents mother, and from the Patterns I see in its many creations.”

Animal symbolism is also very important to Desmoulin keeping its young safe and warm through all stages of their and plays a very large part in influencing many aspects of life. The bear represents protection, being strong not only her art. “I try to put myself into my art through the use of in body, but in spirit. The animals in my paintings quite intuition and emotion. I use the colours that are mainly often reflect my family and loved ones.”

The Bearclaw Gallery, located at 10403 124 Street in natural tones and earth tones. I also like to use silver, gold and copper because it is like Mother Nature’s jewellery to Edmonton is well-known and highly regarded as a fine me. I am greatly influenced by nature. When I was young Canadian First Nations art dealer and gallery. Over the last I used to enjoy walking through the bush and sitting under three decades, the Bearclaw Gallery has established solid a big old spruce tree where I would daydream about my relationships with First Nations artists from across Canada and has proudly promoted Canadian First Nations and future and the things I wanted to do in my life.

“In Sparwood I could look outside my window and see Inuit art and artists to buyers both at home and the mountains. I was also very lucky to see a lot of wildlife internationally. in its natural environment. All of the animals I paint have want to co-manage parks."

Then Wetchie drew attention to the need for "better protocol" when dealing with Indigenous people and communities. If one doesn't know what to do or who to contact, they should ask, she stated.

Also, use the local language, through interpreters if necessary, and "educate yourself beforehand," she suggested. Finally, "be patient and leave your books behind; we're oral and visual people," she concluded.

Andreeff confirmed the necessity of patience, reminding visitors to "be respectful and don't impose deadlines." Get to understand the communities you deal with, "build a relationship" that is appropriate.

On a final note, Supernault stressed the importance of listening. "When you listen you become aware," he said.

With the conclusion of the panel, a short intermission transpired, followed by drumming and singing by the talented group, Asani, accompanied by singer songwriter Maria Dunn. They performed a few songs as a prelude to the screening of 'On the River' - a film documentary honouring the life and contributions of the late former Chief Dorothy McDonald-Hyde of the Fort McKay First Nation, on the northern perimeter of Fort McMurray.

In addition to her progressive work within the Band operations of Fort McKay, McDonald-Hyde was also a tremendously strong proponent for safeguarding the environment, in particular the land, water and air which were continuously threatened by the many oil companies surrounding their tiny reserve. Additionally, she was a veritable force in the realms of protecting traditional rights, Treaty rights and human rights. One mustn't forget, too, that she was the first private citizen to ever take one of the oil companies to court for pollution, and a large firm at

March 10 – 22

Ancestral Memories An exhibit of new works by JESSICA DESMOULIN

View the works at: www.bearclawgallery.com

Bearclaw Gallery 10403 - 124 Street Edmonton, Alberta Canada T5N 3Z6

bearclaw gallery FIRST NATIONS ART GALLERY

Tel. 780-482-1204 Fax: 780-488-0928 info@bearclawgallery.com www.bearclawgallery.com

that, and win her case!

The former chief served four terms between 1980 1992, following several years as the band manager. Her husband, Rod, and children were in attendance for the film screening.

‘On the River’ was produced by Ground Zero Productions and incorporates 10 songs by Maria Dunn and Asani.

On the previous day, March 5, the Director of Climate Science Centre at Texas Tech University, Katharine Hayhoe, stated that farmers and ranchers see earth changes that they consider to be "warning" signals. Emissions created by mankind are playing a determining role in the scheme of things the "choices that human’s make will determine our future."

She is supported by Patrick Kinney, a Boston University professor who instructs urban health and claims wildfires are a negative result of climate change that especially impacts people with cardiovascular and respiratory issues.

Fires, such as those at Alberta's Lesser Slave Lake and at Ft. McMurray create a lot of physical, emotional and financial stress.

New York professor William Solecki further stated that northern regions like Canada and northern Europe are more susceptible than their southern counter-parts and must be cautious of floods, heat waves, airborne diseases, and asthma. And, although temperature increases seem slight (only a degree or two) the impacts are huge and many "effects may arise" decades later with the young and elderly being the most impacted.

Overall, it’s not a very healthy picture but if everyone gets on board, the negative effects might be decreased.

March, 2018

Alberta Native News

15

George Littlechild's art is on exhibit at Gallery@501 A profound art exhibit by George Littlechild, entitled “The Art of Truth and Reconciliation” is currently on display at Gallery@501 in Sherwood Park until April 29, 2018. Littlechild is one of Canada’s most accomplished artists, known for the masterful way that he marries bold colours with playful images and serious themes involving Indigenous rights and social justice.

George Littlechild, through his art-practice discusses identity displacement and cultural genocide from his own personal experience. George was part of a large-scale scoop where aboriginal children were taken from their home communities and placed into white adoptive or foster families in the 1950s and ’60s. It wasn’t until George was in his twenties that he reconnected with the Maskwacis community where his birth family were from and met aunts, uncles, and siblings he never knew he had. Unfortunately, George’s birth parents had passed away before he had a chance to meet them. George’s mother had attended a residential school, as did both his Grandparents. George delivers his work to audiences to create a dialogue between both the Aboriginal communities and the Colonial communities as a method of healing through shared experience.

“The Art of Truth and Reconciliation” is a very special exhibit now on display at Gallery@501 in Sherwood Park.

The exhibit opened with a prayer by Elder Wilson Bearhead on March 9. The students at Pine Street Elementary School, under the guidance of Elder Wilson Bearhead, performed a smudging ceremony as well as

Conference

cont. from p 10

up was because though CAPP’s discussion paper and ongoing work has continually called for dialogue, “before the (federal government) announced the 10 Principles there was no consultation process and the announcement made this spring about the Framework for Recognition and Implementation there was no consultation in advance of that either. I think what you’re seeing is the federal government adopting understandings of UNDRIP without a consultation process and without dialogue. I think it’s important to note that there is a move and there is a significant shift happening (and it’s) coming from the federal government. I think it is important to pay attention to that and to make sure we are aware of where that’s going.”

Renowned artist George Littlechild was surrounded by friends, family and art lovers at the opening night of his exhibit at the Gallery@501 in Sherwood Park on March 9 - on until April 29.

Photo by Terry Lusty

traditional drumming and an original song written in keeping with First Nations tradition of storytelling through music. George Littlechild will be the Artist in Residence at Pine Street Elementary the week following the opening of his exhibition. Here George will facilitate workshops and guide the students in creating an artwork themed in “social justice” as a part of the ‘Project of Heart’, a Canada wide program directed at teaching students about the Indian Residential Schools and their effects on children, families and communities.

“We are honoured to have an exhibition of this caliber at our Gallery, featuring the art of George Littlechild and the important theme of truth and reconciliation,” said curator Brenda Barry-Byrne.

“This exhibition marks an important new direction for Gallery@501. Moving forward we will present an annual

exhibition in partnership with indigenous people and in acknowledgement of the Treaty 6 land that we share with the Cree and Métis people.”

“Gallery@501 acknowledges and thanks the Edmonton Community Foundation for their support of this exhibit and Artist in Residence program with Pine Street Elementary School. We would also like to thank Strathcona County for their continued support and the Festival Place Cultural Arts Foundation for their ongoing support of our art education programs. A special thank you also goes out to Elder Wilson Bearhead for his direction and guidance.”

Gallery@501 is located at #120 501 Festival Avenue in Sherwood Park, AB. For more information call 780-4108585 or visit strathcona.ca/gallery501.

Other speakers during the final day of the Indigenous Consultation and Engagement Conference included a keynote address by Indigenous and Northern Affairs Canada Assistant Deputy Minister, Joe Wild: Building Nation-to-Nation Partnerships in Alberta; Boosting Your Company’s Indigenous Relations Profile by Siksika Resource Nation General Manager, Shane Breaker; Emergency Preparedness for Protecting the Resource Sector by Dana Woodworth, Vice-President of NOR-EX Engineering; and Traditional Knowledge and Land Use Studies by Darryl Sowan, the Consultation Unit Manager for the Swan River First Nation.

Sponsored by The USAND Group and supported by Aboriginal Business Quarterly, ADR Institute of Canada, Alberta Native News and the Canadian Mining Industry, the WICE gathering included interesting panels, talking

tables, keynote speakers, a world cafe and an impressive line-up of legal experts, corporation executives and keynote speakers “Indigenous consultation is a controversial topic that has a way of stirring peoples’ emotions,” noted conference producer Desiree Finhert. “It is always encouraging when people come together to talk about why consultation isn’t working, and how they want to change the system.”

Based in Toronto, The Canadian Institute is both a conduit and stimulus to cutting edge thinking and market trend development. The organization, which has forged close ties with industry specialists, lawyers and other professionals throughout Canada acts as a barometer for Canada’s ever-evolving industrial and professional landscape.

The Art of Truth and Reconciliation by: George Littlechild March 9 - April 29, 2018

#120 - 501 Festival Avenue, Sherwood Park

Ph: 780 410-8585 strathcona.ca/gallery501

“Indigenous Wonder Woman”

by George Littlechild, 2017

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Alberta Native News

March, 2018